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The English learned, in my view, how to use harmony much earlier than the French or the Italians, or the Germans.

Tod Machover

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Tod Machover
Age: 70
Born: 1953
Born: November 24
Composer
Music Pedagogue
Pianist
Mount Vernon
New York
Much
Earlier
French
Harmony
English
View
Views
Learned
Italians
Use
Germans

More quotes by Tod Machover

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Any Beatles song is perfect. It gets to you right away.
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One of my interests in music has always been what it means, why it affects us the way it does.
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I'd studied piano first and switched over to cello when I was about seven. I played mostly chamber and solo classical music. I got really involved with rock music when I was a teenager. I wired up my cello.
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I have a big barn that I converted to my music studio, so I go there early in the morning and the first thing I do is rowing. And that's when I listen to a lot of music.
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The basic idea of a hyper instrument is where the technology is built right into the instrument so that the instrument knows how its being played - literally what the expression is, what the meaning is, what the direction of the music is.
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I had grown up and gone to high school in New York, so I wanted to get out of the east coast.
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I think in many ways, the texture of technology actually diminishes human beings. It doesn't augment them.
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I started thinking, my gosh, all this sophisticated software for measuring how Yo-Yo plays, and how he moves and this technique of the bow, I should be able to use similar techniques for measuring the way anybody moves, and so somebody who is not a professional or a trained musician, I should be able to make a musical environment for them.
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I never liked opera growing up. I always liked chamber music or solo music even more than orchestral music.
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I went to the University of California, Santa Cruz for a year, which turned out to be a really vibrant, very intensive intellectual atmosphere where you could do a lot of aspect of music without it being a conservatory. And that's why I went there.
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I like the idea of imagining a sound and feeling a sound and then having it come out through your body, through an instrument. That's an important way to make music.
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My work on hyper instruments started with simple instruments, like the piano.
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There's just an incredibly rich and interesting relationship between our listening to music and the way our minds engage.
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I love Bach, I love Beethoven, I love Mozart, I love the Beatles, I love you know, Stockhausen, I love many things. But for some reason I come back to Elizabethan music because it's a little bit like the Beatles.
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One of the big mysteries of music is, if you take music without words, it means something to us because we know it's about something. It's about something important humanly, but since there are no words, nobody knows what it's about.
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Music seems to stimulate more parts of our mind than almost every other activity. It combines more parts of our minds. It synchronizes our minds. It allows people in groups to do a non-verbal immediate activity together.
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I've done a lot of operas. I've probably done more different kind of operas than anybody.
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I love the cello, I love the physical sense of an instrument that's about the size of your body that vibrates enough that even if you play an open string, you feel it.
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I think from age 13, 14, 15, I thought, yes, this rich studio produced music is the future, but it can't be the future to go run away into the recording studio. How can we take that kind of complexity and richness and make it possible for people to touch it and play it live. That's what hyperinstruments are.
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The barn where I work, it's only 15 minutes or so from Harvard square, so It's very close to the center of Boston, but it happens to be a total oasis. It's completely quiet in there.
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